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Old 01-19-2007, 10:24 PM
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Lightbulb History of the American Bass (4)

Prescott Scrolls

In an article I read It was believed that Prescott copied an old English Scroll for his model. I don't know if they are referring to Basses or Gambas on this one. I have seen other American Scrolls with carvings as well. Some have 4 and even 6 turns at the Head. I have seen Italians with an extra turn but never with 6. This seems to be mostly early American. Prescotts Scrolls vary from period to period but they are always the same idea. Scrolls are carved in at the top with inlaid plates for all that I have seen. FF holes are wide and short looking and usually upright but some have a bit of slant. Most that are un-altered are attached to the top at the ends.

I see the most variation on the neck block and back construction. Some backs are double thickness with the ribs bent around them using the back lip channel as the bending form. My Batchelder is made that way. Some have neck blocks that from the outside seem to be the original design while many others have raised upper ribs at the neck suggesting they were made 'blockless'. Ofcourse these have been 'blocked' at the first chance during its earliest restoration. My Prescott was cut down and the original Purfling only shows in the corners and the 'button' area. We will try to figure out what shape and size this was originally if at all possible once the top is off. Many Prescotts were made with the Ribs ‘inserted’ into the Top and Back plates like a Yankee Furniture Drawers.

The other thing that varies with these Basses are the sizes he made as well as design. Gamba and Busetto were made as well as two different Block/less designs. I have seen a 3/4 Gamba the huge ones on line over 7ft Tall and the cut versions like mine. I would guess he made mostly 7/8-4/4 sizes with some 3/4 and some 5/4 models over his life span.

The 5-string Gagliano in the Elgar Book is now believed to be a George Panormo and was converted back to 4-strings some time ago. The Nicolo Amati (labeled) used by 'Virtuoso de Roma' on all the Vivaldi recordings of the 1950s-'60s is now attributed to CG Testori. This happens a lot with old instruments attributed to famous makers. If we never saw a JB Allen or Dearborn we would most likely call them all Prescotts. There is nothing bad here, just open minds looking for truth in Bass making history. A maker named Benjamin Willard (1805-1810) is believed to be Prescotts teacher. Recently I saw a Bass in a NY shop and thought it was a beautiful Willard only to be told it’s a Prescott. It seems that every Yankee bass wants to be the most famous regardless of fact. Regardless of who the maker is, I see the values based on the individual Basses as long as they have similar merits, Prescott or not.


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